The Man in White
The Man in White is the first episode of Marvel's Moon Knight. © Valeyard6282 2018. ---- Synopsis Plot Mr. Knight We see a low-set shot of a slummy street in Hell's Kitchen. It is the middle of the night and we hear a woman scream and we hear men roughing her up in a nearby alley. Light bombards the screen, seeping from the headlights of a car heading towards the ground-set camera. The vehicle pulls up, filling the screen. It is a stretched out white Rolls Royce Phantom limousine. It pulls up adjacent to an alleyway. We see the next shot from in the alleyway. We see the woman be pushed against the wall by a man, two behind him. In the background we see the street as the limo ominously pulls up. Thumping music begins to play as the limo's suicide doors open up. We see white dress shoes touch down onto the ground, white socks and white slacks worn above them. We see the feet walk forward, accompanied by thumping when each foot hits the ground. The camera cuts to a shot of his back. A white suit jacket is worn and some sort of white full-head mask is worn on the man's head. He continues to ominously walk towards the criminals, unbuttoning the middle button of his jacket, worn over a waistcoat. We see his white glove-clad fingers drum against the air. We walks towards the muggers. The one closest to him pulls a pistol. We see a close up of his finger about to pull the trigger, but we see the bones break through the skin of his index finger. The bloody bones unravel inhumanly. The man screams and drops the gun. The man in white grabs the man's wrist, forces it down before grabbing the back of his head and slamming it against his knee. The impact bloodies the man's face as he collapses. The man keeps walking forward and we still only see him from the front in brief glimpses. The second mugger throws a punch but the man in white catches the punch with his right hand, gripping the man's fist hard. He pushes down the mugger's arm and lands a powerful kick in the man's chest, knocking him back into a bunch of trash cans. The man in white pushes off the brick wall and goes into a sideways cartwheel of sorts, his left foot slamming very hard into the skull of the last mugger. The man in white lands on his feet and slides in front of the woman, his body blocking off any harm to her. We see him in full now. He is wearing a white three-piece suit and he has a full-head white mask on with a round indentation on the forehead with a crescent moon within. The mugger is lying on the ground. He points his revolver at the man in white and fires four rounds into the man's torso. The man in white shows no effect other than flinching back as the bullets penetrate his skin. We see blood begin to stain the suit. The mugger is shocked that the man is still standing. We see a close up of the man in white's face as he lowers his head, focusing on the mugger. The mugger is frozen and can't seem to move. He is shaking with fear. We see tears gather in his eyes. He is breathing rapidly. He is terrified in every since of the word. We cut to the mugger lying in the trash. He pulls a pistol out of his jacket and points it at the man in white. The man in white whips his head towards the second mugger and the mugger's radius burst out of his arm in a bloody mess. He screams in agony as he drops the gun, clutching his mutilated arm. The man in white continues to stare at him and the mugger's neck brutally snaps telekinetically. The man in white slowly returns his gaze to the terrified mugger. The mugger looks down at his arm holding the revolver as his arm moves to a horizontal state, the handgun pointing at the first mugger. The man in white lowers his face and we see the mugger's finger pull the trigger and a bullet whizzes out into the other mugger's head. If it is possible, the last mugger is even more terrified. The mugger looks up at the man in white. His wrist snaps and burst out of his skin as it is telekinetically turned so the barrel faces the mugger's belly. The trigger is pulled and a bullet is shot into the mugger's belly. He is so scared he can't even scream. His eyes balls take on a darker color as they roll around inhumanly in their sockets, making swishing sounds. The mugger collapses. The mugger walks away, walking ominously back to the limo. As he walks he buttons the middle button of his jacket, recreating the famous Mr. Knight scene. Intro Credits The screen cuts to black as the intro credits start. The positions of the starring roles of the episodes are in the heading below. The entire intro is black and white. We see a wide panning shot of a black void with a white egg sitting in the center of the panning screen. As the credits play, the egg begins to crack and shards flake off the egg as it cracks open. When the top shatters, we see it from above. As the egg cracks, we see a spooky flashing and flickering glimpse of Khonshu- who was also hidden creepily in previous shots. By the end of the intro the egg is mostly broken and Mr. Knight is standing within it, erupting from the newly broken egg- breaking in slow motion. He is emerging from the egg from the waist up with his arms extended as he breaks free. The image flickers away creepily, being replaced with a black screen where white letters float onto the screen from various directions in a Stranger Things style- spelling "Mo n Knight", with "Knight" positioned below "Mo n". The second "O" in "Moon" is formed by a glowing crescent. The screen goes black. A Crime Scene We see cameras flashing over the same alleyway that the man in white desecrated the night before. It is now mid morning and there is yellow crime scene tape strung up on the ends of the alleyways. Investigators take pictures of the crime scene- chalk and numbered markers labeling where the bodies were. We see an ambulance shut its door as a stretcher bearing a body bag is closed. The ambulance drives out of the scene. We see a detective lean down, looking at the murder scene. He has heavy stubble over a square jaw with eyes far apart. He has short but curled brown hair atop his head and a beer belly curing over his belt. He is wearing a brown overcoat, worn over a plaid blue button down with a cheap tie- tucked into tan pants with worn out leather shoes. He is smoking a cigar. Paramedics pick up a mutilated corpse out of a pile of garbage. His radius is ripped from his arm and his neck is snapped. The detective gazes at the corpse as a body bag is zipped over. The detective walks over to the alleyway where one of the muggers sits, alive. His eyes are wide and bloodshot and he is shaking violently. There are NYPD from the Hell's Kitchen station surrounding him. The detective approaches him and crouches down. The mugger is shaking. "He did this." "Who?" The detective questions. "Knight. Mr. Knight. Mr. Knight. Mr. Knight. MR. KNIGHT! MR. KNIGHT!" The mugger begins screaming 'Mr. Knight' over and over again. Intense music plays as he begins to scream. Some Don't Die With Bullets We see the white limo pull up behind a low-profile brick building. The driver-side door opens up and a man wearing a maroon cardigan over a white-button down and black pants steps out. He has heavy stubble over his jaw and a brown mustache above his lip. He has short, slicked back brown hair as well. He walks over to the suicide door in the back end of the white limo. He opens it up and the man in white steps out- red staining his waistcoat. The man in red shuts the door and pulls a filthy blue tarp over the limo. Both men walk up rickety metal stairs leading to a metal door into the windowless building's second floor. The man in white stylishly flips out a chain with a silver key attached. He inserts in into the door and unlocks it. The large industrial door is pushed open and both men walk inside the apartment. The man in red presses a button with no electrical shield around it- exposed wires surrounding the button- and the lights flicker on. The lights are rather dim and are surrounded by thin ceiling panels that you'd find in an average office. Flies lie dead within the light panels. The man in white walks over to a dirty bathroom. He shuts the door and locks it. He walks up to a small sink with a filthy mirror mounted above it. From behind, we see him pull off his mask and drop it on the grayed tile. When he pulls it off, it reveals black hair atop his head. Still from behind, he pulls off his white jacket and throws it aside. He quickly unbuttons his waistcoat and throws it aside too, before ripping off his tie. He crudely rips open the buttons of his shirt, pulling off the shirt while wincing in pain. He drops the shirt on the floor and we see his reflection in the mirror completely now. He has well-trimmed black stubble upon his face. His eyes are extremely bloodshot and wide. Inhumanly bloodshot. However, his chest shows his injuries. There are bullets embedded into his skin, blood built up around them. Two are embedded around his lung and heart, one is more in his belly, and one his directly over his right lung. We now get several minutes of the man wincing in pain and screaming as he pushes the bullets out of his chest and into the sink. When he pushes one out, a cascade of blood rushes out of the wound. It is as if as his skin was penetrated but the muscle stopped the bullet form entering organs. He looks into the mirror, his face showing the intense pain he's in. However, in an instant, the pain fades way and his face conveys no agony whatsoever. His eyes also rapidly become less red. He begins talking to himself. "Sir, you should be more careful," He says- looking fine. He's speaking with a New York accent. Then all of a sudden he looks like he feels all the pain once more and his eyes gather blood. He glares at the mirror and tilts his head down, looking furious. He doesn't say a word until the pain just isn't there anymore. The anger fades away and he now looks scared- looking at the mirror with terror in his eyes. Tears even gather in his eyes. "I'm sorry Mister. I'm sorry," He whimpers out. "I have to go," He says to himself. We see the man walk out of the bathroom while pulling down his white slacks as he walks. We then cut to him pulling on a worn brown fleece over a white t-shirt and plaid button down worn over blue jeans. He grabs a gray knitted beanie off of a table and puts it on his head before pulling a pair of rectangular glasses out of his pocket and putting them on his face. "I'm working a longer shift and I'm gonna stop by Marc's psychiatrist's office," He calls out to the man in the red cardigan, who is spreading jelly on a piece of toast in the small kitchen. He glances up at the man. "Tell me what Rob thinks about his absence," The man is red speaks with a faded French accent- still there but dulled from living in America for many years. Jake nods. "Yeah." "See ya Jake," The man in red replies. "Bye French," Jake responds as he exits the apartment. Taxi We see the man who was in white- Jake- open the door of a faded yellow checker cab. Its paint is chipped in a few places and it is rather run down. Jake gets in it and sticks the keys in the ignition. The engine rumbles to life and he pulls onto the busy morning street- covered in civilian cars, and yellow and green taxi cabs. He is driving down the street and a women steps out of a brownstone. She is wearing a white blouse with a low-key necklace, a blue cardigan, black leggings, a beige wedged shoes. She has black hair that tumbles over her shoulders and a purse over her shoulder. She waves down Jake's taxi. He pulls up against the curb. The women opens the back door and gets in. Jake starts the taxi calculator. The women tells Jake her destination. "Tower 49". Jake nods. "Yes ma'am." Jake begins to drive back onto the street. After driving for several minutes silent, Jake speaks up. "You live here in Hell's Kitchen?" "Yes, yes I do." Marlene pauses and thinks for a minute. "Your voice sounds oddly familiar. Have we met." Jake tilts his head. "I may driven you before. I work this street a lot." The woman bites her lip. "Huh. Maybe." She looks up at the mirror and sees Jake look back into it, showing her his face. "No. Marc?" Jake looks puzzled. "Excuse me?" The woman looks flabbergasted. "Marc. Its Marlene. Marlene Alraune? We went to high school together, started dating junior year. But how are...here?" She has an expression of not understanding how this is possible. Jake's eyes dart around. "Sorry miss but I think you got me confused with someone else. My name's Jake. Jake Lockley." Marlene looks confused, but a bit relived. "Doppelganger." Jake looks back at her with the mirror. "What happened to this Marc guy you knew? You guys have a bad breakup or something?" Marlene looks saddened. "He actually passed some years back. Killed in action in Afghanistan." "My condolences," Jake says. Marlene smiles. "Thank you. Yeah, I miss him. Marc Spector. The boy who never backed down from a fight." Jake's eyes widen. "You say Marc Spector?" Marlene looks concerned. "Yeah, you knew him?" Jake nods. "Yeah, yeah. He's a friend." Marlene's eyes widen. "He is or he was?" Jake takes a minute to respond before nodding a lot. "Was. Yeah he was my friend, but we haven't spoken in a long time." Marlene still looks suspicious at Jake's choice of words. The cab pulls up against the sidewalk. "We're here. That will be []" Marlene hands Jake some folded bills as she takes a long look at his face. Jake looks at her awkwardly as she stares at him. He gestures towards the sidewalk. Marlene looks embarrassed. "Oh, right sorry. Thanks for talking Jake." Jake nods. "Sure thing." Marlene gets out of the cab and shuts the door. Jake pulls back onto the street. Marlene looks up at Tower 49 where she works as a secretary in an office owned by Richmond Shipping. The tower is mostly rectangular with one end dipping in to create an indentation between two rounded off corners. The glass tower has a forest green hue to it. Marlene sighs and begins walking towards the office. Wet Works Ominous music plays as from behind, we see a tall man in an olive-green suit walking towards a café. The café is a corner building made of worn tan brick. A glass door adorns the corner with a large green plaque mounted above it with the words "The Daily Grind" written in swirled gold font. The man we see from behind has shaggy bleached hair with black undertones. We see him push open the glass door of the café as a pleasantly-sounding bell chimes. The inside of the café is a clean cross between modern and rustic. The floors are a dark laminate and several round, white tables house a couple tenants- casually sipping on coffee. The tenants aren't the typical café-types as they are all a little rough-around the edges. It is clear that this is a lowkey hangout for people with reputation in unorthodox businesses. The man in the olive-green two-piece suit walks up to the counter. Wiping down a stylish copper coffee machine is a young African-American woman with curled black hair cut into an edgy undercut. She is wearing a grey t-shirt with a half red, half black leather jacket over it with black jeans below. She walks up to the counter, running a rag over it. "Bill Cross. To what do I owe this pleasure? I hate to say it but I thought you was dead." We see the man in olive- Bill- from the front. A black tie completes his attire and his neatly trimmed facial hair matches that atop his head. "I heard a rumor from Kodiak that you're retiring Washington," Bill says. The woman- Washington- swipes her tongue over her lips. "I don't know what ice Kodiak's on to say somethin' like that. I ain't goin' no where sweetheart. But I'd be lying if I said it hasn't crossed my mind. Devon ain't gonna raise 'emself." Washington leans forward on the counter. "But that ain't what I asked Bill. What you doin' here?" Bill exhales. "I want a job. I need to get back out there. It's where I belong." Washington chuckles at Bill's remark. "Welcome back baby. It only took ya three years." Bill breathes out again, as if calming himself down. "Well I'm back in business. So how 'bout a job." Washington raises an eyebrow. "Takes a lot of nerve to come in here after all this time and ask for a tip-" "I wasn't asking," Bill interjects. Washington chuckles and nods her head. "The usual then?" Bill nods. "It'll do." Washington goes and begins work on a drink for Bill. "So how's Devon?" Bill asks. "How you'd except. He doesn't give a shit about school. It's never not a battle between us," Washington replies. Bill nods. "Unfortunately I know how that feels." Washington turns around- a look of sorrow on her face. "I'm sorry Bill. I didn't-" "It's fine," Bill interrupts. "Darren dug his own grave. He didn't want me as a father so he found another one. I don't blame myself for what happened." Washington nods as she sets a mug of black coffee in front of Bill. Bill picks up the mug and sips on the hot drink. Washington snaps a thin paper receipt out of a machine and slides it to Bill. "There's your receipt and what I got tip-wise." Bill picks up the receipt and reads it. Below the normal receipt is a tightly typed paragraph, decoding a job for a hitman. As Bill reads, Washington talks about the job. "Some crazy-ass black guy with a scar across his face came in wanting some ex-Marine dead. I don't sleep well knowing why sometimes but he wanted it done." As Washington says this, she pulls a yellow-orange envelope from a safe under the counter, handing it to Bill. Bill cautiously peeks inside the envelope. Inside is blocks of money. Bill hands the envelope back to Washington who returns it to its place under the counter in its safe. "As you can see he pays...generously to say the least." Below the paragraph on the receipt is two blank lines. Bill bites his lip as a pulls a click pen from his jacket pocket. He clicks it open and scribbles down something onto the receipt before pushing the paper across the counter. Bill puts away his pen and takes a swig of his coffee. He sets down the half-empty mug and gets up from the counter's stool. "Tell him I'll take it," Bill says. We see a shot showing us the receipt. The first line has "William Cross" signed on it in an untidy cursive with a phone number below it. Washington smirks as she puts the receipt in a secluded slot in the register. We see Bill walking out, the bell ringing behind him. 'Video Journal ' We see the detective standing with his back to the camera, looking at an investigation murder board. The detective has his coat off and thrown over his chair, revealing his sweaty plaid button down and tie. The detective is clicking his tongue against the roof of his mouth as he drums a pen against his hand. He currently has rectangular glasses on he didn't wear prior. We receive a voice over from the detective as we see shots set in the precinct where the detective is working currently. As the voice over plays, we see shots of the murder board- filled with push pins and red elastic cord. The cords intersect with various pictures of the corpses recovered from the alley. All the cords lead to the top of the bulletin board where there is an ace of spades playing card stuck into the board with the words "Mr. Knight" written in black sharpie. Towards the end of the voice over, we actually see the recording the detective made with his webcam- recording the log of the events that unfolded the night prior. The voice over played over the above-mentioned scenes are as followed: "The date is October 10, 2018. My name is Detective Jay Flint of the NYPD, working out of the 15th Precinct in Hell's Kitchen. A rather strange case has come out of Hell's Kitchen last night. Two men were found horribly mutilated in an alleyway with a third- named Anton Mogart- being left alive, suffering paralysis and schizophrenia which Mr. Mogart did not have prior to the attack. Mr. Mogart has been transported to Birch Psychiatric Hospital where he will receive what treatment can be provided. The other two men have not yet been identified as the case is still unraveling." Taken ' '''We cut to Jake is driving his cab. He clicks a button on his dashboard. We see the center light of his taxi sign atop the yellow roof turn off- signaling that he is off duty and his work day is done. We see Jake drive to a small little office building- only a few stories tall. Jake pulls into the small little parking lot as he steps out of his cab and locks it. Scratching his head, he walks into the building. He enters into a narrow hallway with some nubby carpet on the floor. He walks a little more than halfway down the hall and enters one of the rented suites in the building. Jake walks up to a receptionist's desk. He smiles at her. "Hi, I have a 5:30 with Dr. Silverman." The receptionist types quickly on her keyboard before looking up and smiling. "I'll let Dr. Silverman know you've arrived. He'll be out to see you shortly." Jake smiles. "Thank you." Jake walks over and plops down into a typical cushioned chair you'd find at any doctor's office. Jake nervously stretches the back of his neck- a tic he does frequently. The wooden door protected by a key code clicks open and a man wearing a black suit, with a striped tie in varied shades of green, steps out into the waiting room- holding the door open with one arm. "Jake Lockley?" The doctor looks out at the waiting room as Jake stands up. "Marc?" The doctor questions. Jake shakes his head. "No, it's Jake." The doctor looks a bit puzzled. "Come on in." They walk back to the doctor's office. It is a room in the back with metal shades over the windows, a corner desk, and several large bookcases. A round reddish-orange rug lies in the center of the room with a large leather chair sitting atop it. Across from the chair is a leather sofa. Metal fold-out chairs are stacked on a rack in the corner for extra tenants. Jake sits down comfortably atop the sofa. The doctor extends his hand down to Jake. "Jake, I don't believe we've formerly met. My name is Dr. Rob Silverman and I'm a psychiatrist." "Nice to meet you," Jake replies. "You too," Rob replies as he sits in his leather chair. "A couple years ago, much of my work concerned a man named Marc Spector. He was diagnosed with Dissociative Identity Disorder, or DID. He had three distinct alters. He stopped coming in...well about six months ago. So why are you here?" Jake scratches the back of his head again. "Marc's been gone a long time. He doesn't even sit with the rest of us when it's not his turn to be in the limelight." Rob scratches his chin. "Where does Marc go?" "He doesn't go anywhere because he's not even with us anymore." Rob looks extremely puzzled. "What do you mean Jake? Marc got phased out? I didn't think the termination of a personality was even possible." Jake shakes his head. "No, not really. He was...taken." "Taken? By whom?" Jake scratches his head, looking rather scared. "By The Man in White." Rob leans forward in his chair. "Who is The Man in White?" "The Man in White is the fourth alter. He shut Marc out. He sits in Marc's chair staring at whoever is waiting for their chance to shine." "So where did The Man in White take Marc?" Jake looks up from his shoes. "I don't know. He's been gone for months. I'm only here because I know Marc likes to come here to talk and I need to right now. Marc's in trouble. The Man in White is not to trifled with." Tears begin to build up in Jake's eyes. "He's done really bad things Rob. Really bad things." Rob looks very concerned. "Like what? Jake what has The Man in White done?" Rob asks as intense music reaches its climax. Jake exhales and shakes his head. "I have to go." Jake stands up and opens the door. "Jake wait." '''The Fourth Alter ' The intense music continues as Jake slams the door behind him. As he walks out of the suite and the building, Jake is clutching his head with his eyes squeezed shut. We see Jake yank open the door of his cab before throwing himself in and slamming the door- still clutching his head. All of a sudden, Jake throws his hands off his head as his eyes fly open. They are inhumanly bloodshot and very, very wide. He looks angry. We see a closer shot of his face. His pupils have shrunk and the veins in his eyes are very red and starting to bulge. Blood is built up in the tear ducts- dripping down in the corners. We see the next scene from outside the taxi, looking through the window at the profile of The Man in White. He begins to speak in a deep, menacing voice. "You've angered me. Spoken against me." His head rolls and locks up, looking at the ceiling- his head shaking. His eyes aren't bloodshot but are bulging as if an invisible force is forcing his head still. It looks like Jake is fighting for control but being forced back into the darkness. His head violently snaps back down- his eyes bloodshot as The Man in White is in control. "No," He says with a menacing tone. The screen goes dark as the music slams to a halt. Intro Credit Positions * Starring Keanu Reeves (As we pan over the egg) * Gaspard Ulliel (As the egg begins to crack) * Rainn Wilson (As a second crack spiderwebs) * Lynn Collins (As a piece of shell flakes off the side of the egg) * BJ Novak (As the entire top half of the egg is consumed with cracks) * With Billy Bob Thornton (As the top of the egg breaks and yolk spills out, revealing a flickering Khonshu) * And Michael K. Williams (As we see Mr. Knight rise out of the yolk from behind) Trivia * "Kodiak" is a reference to Kodiak Noatak- a mutant assassin known as Harpoon in the comics. * Bill Cross is not the brother, but father of Darren Cross- the Yellowjacket- in the MCU. Category:Episodes Category:First Episodes Category:MCU Category:Valeyard6282 Category:Marvel